Il delitto Dupré

Reading the small synopsis appearing in the DVD it somehow is regarded by some European critics as French's WITNESS FOR THE PROSECUTION made by Billy Wilder previously in 1957, thus at once I've been thrilled about to come, the summarized plot is about a wealthy sick mid-age man Paul Dupre (Villalonga) married with a younger cold woman Catherine Dupré (Marina Vlady), suddenly one night a beauty nurse Gina Bianchi (Virna Lisi) when applying the injection Mr. Dupré going to die, after reaches his doctor soon realizes that the ampoules were wrongly switch.

Then at once Mrs. Catherine claims that Gina kills willfully his husband, also argues that both having a secret affair, one next morning the shacky Gina has an unsuccessful attempt of sui.cide in a car accident, inquire by a clever instruction Judge Albert Gaudet (Borvil) in rare serious role, he awares that the late Mr. Dupré changed his will three days before his death, leaving all his properties and money to Gina, Mrs. Dupré contracts her lover a famous crook lawyer Charles Cassidi (Pierre Brasseur) as defense attorney, all elements strongly suggest that Gina is really guilty, however the wise director already exposes that his diabolical wife framed her prospective contender, in a nutshell Gina is doomed to jail.

Then the audience eagerly expects for a final twist thru the outstanding Judge Albert Gaudet that has an ace at his sleeve to overthrown the perfect crime, nonetheless the savvy Lawyer will be everything to condemn the innocent girl, this picture is quite opposite with his supposed forerunner, somewhat it stays a bitter taste at our mouth that already expecting a better outcome.

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First watch: 2024 / How many: 1 / Source: DVD / Rating: 8.5.

French critics compare "les bonnes causes" to "winess for the prosecution" and of course they say it cannot hold a candle to it.They are wrong.Not that it might be better than Wilder's work,but it's downright different.Henri Jeanson's lines have not lost their bite ,particularly when he thrashes the légion d'honneur -it was not the first time- this award it's such a honor to get .

The main difference between Wilder's "witness" and Christian-Jaque 's "les bonnes causes lies in the fact that in the former,Wilder (and A.Christie,the writer) saved the biggest twist for the end whereas in the latter we know from the start (or almost) who the villains are(Pierre Brasseur at his most cynical,Marina Vlady at her bitchiest).Virna Lisi portrays a nurse,unfairly accused of murdering Vlady's husband.Bourvil ,in one of his rare dramatic parts is the good loyal judge and Umberto Orsini the dedicated lawyer.It seems that in his last worthwhile (and sadly) overlooked works (this film and "le repas des fauves" ) Christian-Jaque regained his bite and his pessimism which he had displayed before in "Boule de Suif" and "un revenant" ."Les bonnes causes" ,which displays black humor too could also be a spoof on André Cayatte's causes célèbres.

The subject matter of this film of Christian-Jaque could not be in greater contrast to his 'Madame' which came before and 'Le Tulipe Noir' which came after and although not such an obvious crowd pleaser as those two was a notable box-office success.

Briefly it concerns a brilliant but morally ambiguous criminal lawyer Charles Cassidi who prosecutes a nurse for murder knowing that she is innocent. Juge d'instruction Gaudet comes to believe in her innocence but is powerless to prevent her being found guilty. Although cynical and pessimistic in tone the clever twist at the end leads us to believe that justice might prevail........ It has been adapted from the novel by Jean Laborde who had been a reporter for France Soir specialising in judicial affairs and who certainly knew whereof he wrote.

The four leads are perfectly cast. As befits his character's profession Pierre Brasseur plays to the gallery as Cassidi and the scene where he makes a witness look like an idiot is masterful. The presence of Virna Lisi here reflects that this is a Franco-Italian production. Her casting as the accused nurse is surprising but extremely effective and proves once more that she is so much more than just a pretty face. The same might apply to Marina Vlady who plays the murdered mans wife. Her character has the face of an angel and the heart of a demon. The most interesting character by far is Gaudet in a beautifully subtle and understated performance by Bourvil.

Good writing of course makes good actors even better and the cast is served well by the pungent dialogue of Henri Jeanson. It is shot in razor sharp black and white by veteran Armand Thirard.

This might not have the same crusading zeal as the films of the admirable and well-intentioned André Cayatte but it gets the point across just as effectively that Justice and the Law are distant cousins.

In this film Bourvil plays a judge applied to research a murder case (difficult to explain the French judicial system, one should watch the series Engranages to get an idea). There are two possible culprits: the widow and the nurse (and mistress) of the victim. Bourvil is positive that the widow is lying, and that they are sending an innocent woman to jail.

Don't Tempt the Devil is about 'the perfect murder', which was also the subject of a couple of films of Hitchcock, and of course, Witness for the Prosecution by Billy Wilder, made six years earlier. Just like in Hitchcock's Rope we learn immediately who did the crime.

In this film you'll see people talking, rather static. Bourvil who talks to Pierre Brasseur, who talks to Marina Vlady, while Virna Lisi talks to Umberto Orsini, who talks with Pierre Brasseur, and sometimes Bourvil talks to all of them. While the dialogues are good in itself, it would have been great if there had been some more variety. As this film is directed by a director with a background as well as a writer (Christian-Jacque) it might not be such a surprise this story is rather talkative.

Nevertheless, it's still a great film. What I enjoyed were the aesthetics of the film. The beautiful black and white shots, the carefully positioning of the characters at the foreground and background, the choosing between close-ups and medium shots. It is absolutely worth the time of the viewer and in my opinion even more enjoyable if you forget the story and start watching the actors. Especially Bourvil and Pierre Brasseur (with a hoarse voice, while his voice was so splendid in Enfants du Paradis) are great. In many modern films this sense of aesthetics is gone. There's hardly any logic in choosing shots, it is all about nonsensical close-ups and raw editing. Therefore I rate this 7/10.